Intentional Camera Movement (ICM)

Humber Fish Co., Humber Street

ICM is not new in photography and has often been used in the past to create more complex, dreamlike and painterly images to counter-balance some of the increasing sharply focussed work often on display.

Intentional Camera Movement is what it says and involves the photographer moving the camera during a long exposure to create something slightly other worldly. The impact can be very boring and look like a slightly out of focussed amateur attempt, very abstract or stunningly beautiful and Turneresque. There are some very experienced experts out there who, by their own admission, may take hundreds of shots to get the one or two they are looking for.

I have had my interest renewed in the nature and practie of ICM following a conversation with another photographer, Iain Cairns when we met for a coffee recently and a link he sent me to the work of Andrew S Gray in Northumberland whose work you can see here :- https://andrewsgray.photography/ . Very atmospheric!!

I am miles away from anything like having the skill of Andrew but I also think that increasing my repertoir is as essential as using the full facilities of my camera. So I have set out to practice with ICM and these pictures are the first taken over the last week.  I have a long way to go. 

I have not attempted to do very much post editing with them as I wish to get the balance right first between what can be seen and what can be hinted at. This essentially means how much or how little movement I get into the shot and that is practice and good luck. The greater the movement the more abstracted the picture. I have certainly learned that having some point of focus helps and that usually minimal movement makes a more understandable picture. Equally a lot of movement can give a very pleasing abstract effect and result in unpredicatble colour swatches in the final photo.

In addition I decided to experiment with a technique I have been using for some time now and utilising my camera's ability to take up to twelve photographs and merge them in-camera to gain an overlayed result. Again I have learned so far to work with two imposed images and ICM but not more.

The basic camera set-up varies depending on the weather. A very bright and sunny day will allow much more play than a dark and stormy one and the colour palette on the final photos will be very different. In order to reduce the light entering the camera you also need a variable Neutral Density Filter. These allow you to make speedy changes to the light entering the lense. I have usually set the ISO on the camera to 100 (which in itself can require a longer exposure) and set the timer to anything from half a second to considerably longer. I can then marginally adjust the ND filter, the timing or the ISO to improve results...but it is hit and miss to some degree although if you stand in one place and take a number of photographs it is likely you will get nearer to the result you want with each picture taken - unless the sun goes in or pops out again!

My experiments have taken me into the city and countryside over the last ten days and you can decide which you like best from these shots below. I will post again on this topic in the coming months as I learn more and use increasingly different methods to achieve my results. Comments are welcomed - and remember if you don't wish to miss any of my blogs you can always pop your email into the top right hand box and then you will get a reminder when I post ! You can also reverse that process if you get fed-up with me!

Sky and wall

Spurn Lightship, Hull Marina

Path near South Cave

Family outing to the woods

Landscape with single tree near Elloughton

Gavin Prest - Book One

 

Gavin Prest is a Yorkshireman from Hornsea and, like most Yorkshiremen I know, proud of it. He specialises in fine art prints, usually in black and white. His exacting style and boundless imagination having helped build him an international reputation with his work now selling to collectors worldwide. 

As a leading member and mentor of the Guild of Photographers he has spent much of the recent lockdown conducting Zoom interviews with leading photographers on behalf of the Guild including the likes of Sean Tucker, Martin Parr, Kevin Mullins, Frances van der Merwe and  Debbie Longmore. Last year he was a judge of the largest photography competition in the world, The Trierenberg Supercircuit which took him to Austria.

With his passion for mono and a storytelling style his photographs are easily recongnisable to many, although he can still surprise at times, as he did with his successful bid for a second Masters Award with a series of pictures which were not only in pastel shades but appearing to feature a mannequin - it wasn't, it was a model ! 

His work requires exacting focus and ideas from him and his models, many of whom he has worked with for some time, but also a good deal of careful work in the post production stages....and what Gavin doesn't know about the technical issues of studio lighting is hardly worth bothering about...

His first book - obviously entitled Gavin Prest Book One  - is a lovely hardbacked, well produced and well presented selection of 39 early images which helped build his reputation spread over 80 pages. The paper qulaity is high, as you would expect, using 200 gsm silk paper and the square format suits the style. Surprisingly the volume is only £25.00 pp and tells you a little about his work and motivation. From the title I would image there are more books to come!

You can find out more about the book here:-  https://www.gavinprest.com/the-release-of-book-one/ 

Sally Mann

 

This American photographer grew up in Lexington and studied photography in the late 60's at the Ansel Adams Yosemite workshops and later at colleges in Vermont where she graduated not only with photography as her major but with with an MA in creative writing.

She has long had a reputation for disquieting photographs of familial relationships, of young girls on the cusp of womanhood, of the familiar natural world shown in an unfamiliar and slightly awkward way which draws attention to the often unseen, for the themes of death and decomposition and themes of complex identity in the American South. Her own family feature strongly in her work including her children, the decline of her husband Larry with Muscular Dystrophy and the decaying remains of her much loved greyhound. This is not work for the easily disturbed but her techniques and subject matter repays close attention.

Usually working with an 8x10 bellows camera she has explored many printing processes to suit her work.

A Guggenheim Fellow, named "America's Best Photographer" in 2001 by TIME Magazine and a three time recipient of the National Endowment for the Arts Fellowship she has also had two documentaries made about her work; "Blood Ties" (1994) and "What Remains" (2006) both of which were nominated for major awards. Both can be found online and watched for a small fee.  Her work now appears in galleries and museums across the world.

The following is a one hour You Tube interview with Charlie Rose from 2016 which has a really great beginning :-) - https://www.youtube.com/watch?v=u4jaRBwGVYc 

The photos below show the reason for controversy they have caused with accusations of her taken advantage of her children and showing them in provocative poses. Her children very much support her work and have always voted on the photographs she can show. One of the main things I take from her work (apart from the beauty of natural light) is to not be afraid of following your instincts.

 

Calla Lillies

Every year I grow Calla Lillies in pots in my garden. They are now taking over and I need to re-pot at the end of this summer. Some have a purplish tinge to their veins and interior and others are deep orange.

Each year I pick one to photograph always looking for new angles or lighting. This year I use a 100mm lense which is often the one I use for portraits. It enables me to take shots pretty close up, the only drawback being the extremely narrow depth of field. This means that I then have to decide where I lay the emphasis on the focus for the flower.

Whilst I love the colour of this particular lilly I also happen to enjoy them being reduced to mono so there is always a debate inside my head about which might look best left in colour and which converted to mono. 

I usually use a single low light source from one side and slightly about the flower - a classic Rembrandt lighting technique in portraits. I don't feel that I have pushed this as far as I might yet but I'll keep trying. After all John Blakemore has been photographing tulips for over 24 years... 

War - Tim Hetherington

Tim Hetherington's work as a war photographer has recently come to the fore again partly as a result of the hard hitting BBC TV Series Once Upon a Time in Iraq (you can find it on iplayer although the series is still running at the time of writing).

Hetherington was one of a brave band of photojournalists who cover global conflict. Born in Birkenhead on Merseyside in 1970 he later read English at Oxford before inheriting £5K on his grandmother's death and spending it on travel in the far east. This time convinced him that he wanted to make images and he went on to study photography at night school. Later he studied photojournalism with Daniel Meadows and Colin Jaconbson before becoming the only staff photographer on The Big Issue.

He then spent nearly a decade documenting strife in West Africa and the impact it had on daily life. Nigeria, Liberia and Sierra Leone were all in states of conflict during those years. After a spell with the UN he started to make trips with writer Sebastian Junger to Afghanistan for Vanity Fair. He won the award for the World Press Photograph of the Year in 2007 with the photograph reproduced below.

Hetherington and Junger were embedded with a single U.S. Army platoon (Second Platoon, B Company, 2nd Battalion, 503rd Infantry Regiment, 173rd Airborne Brigade Combat Team) serving at a remote outpost in the Korengal Valley. They filmed the 2010 documentary film Restrepo there a film which clearly shows the ferocity of the fighting. At the time is was said to be the most dangerous posting with 25% casualties.

The film is online on various channels and I watched it recently on Chili for £2.49. 

Sadly Hethington was killed in Libya in 2011 covering the civil war amid indiscriminate shelling by Gadiffi's forces. He survived the initial wounds but died from a loss of blood later. He is buried in Brompton Cemetery.

If you are enjoying my Blogs then remember I will be publishing them less frequently from today (usually aiming for twice weekly). If you don't wish to miss any then you can fill in your email at the top right of this page and receive a notification whenever one is published. You can also unsubscribe at any time. I aim to cover a range of topics from revoiews and news to specific events in my own life as a photographer and I am always happy to hear the thoughts of others or suggestions for blogs from yourselves.

Reading the Landscape - Peter Heaton Review

Peter Heaton – Reading the Landscape

When Beverley Art Gallery re-opened in early July it did so with two new exhibitions, one a photography exhibition which I was asked to review by the Friends of Beverley Art Gallery for their newsletter.  This is what I wrote. The exhibition is open for some weeks yet. Let me know what

Peter Heaton is a professional photographer who studied at Nottingham Trent and Leeds Metropolitan Universities. His well established Vale of York Darkrooms in Stillington provide a base for his digital and traditional development courses.

This new exhibition at Beverley Art Gallery exhibits some of Heaton’s black and white landscapes taken whilst walking the Yorkshire Wolds. A lover of nature, inspired by writers such as Robert Macfarlane it is unsurprising that Heaton wishes to express his concerns, impressions and emotions beyond the photographs he takes. As Heaton identifies in his introductory notes to the photographs there are obvious limitations to their use as records. As John Berger rightly says in his essay

In order to overcome this perceived deficit Heaton experiments with overlaying words on the pictures themselves in an attempt to add a wider experience for the viewer. They appear in different scripts, sizes and transparencies. “

The photographs are lovely. Well crafted and composed. The words sometimes meaningful but sometimes more challenging to set against their backdrops. The idea is not new but uncommon and whether it works open to question. I found the words sometimes detracted from the images but that is the fun and fact of any artistic endeavour. It is up to you to visit and see for yourselves. It is certainly provoking and reminds us of the increasing fragility of our natural surroundings in these fragile times.

The exhibition is now open and good one way social distancing measures and tracking are in place.

Nigel Walker

* The John Berger quotation in my reveiw comes from Understanding the Photograph, a series of essays edited by Geoffrey Berger and originally published ( but now as a Penguin Cassic) in 2012.

The wood carver

In a small and anonymous town in Italy where I and three other photographers stopped for a coffee we found a curious little shop on the main road. It was small but stuffed with beautiful wood carvings.

The wood carver was welcoming and luckily spoke some English as our Italian had little in it that would have got us far in wood carving terms. He told us much that I won't repeat here but it included his preference to work with tools made in Sheffield where it appears his brother made (or maybe it was had made) steel and the array behind him was evidence of this attachment. He was garrulous and, while I do not want to use any stereotypes, as expressive with his hands and head movements as any Italian I have met.

As our visit drew to a close and we bought our examples and gifts to take home I asked if I may photograph him. He was happy with that and continued to talk while I snapped away for a couple of minutes. The light was great arriving as it did from the sunny street outside his workshop window lighting both him and the tools in the background. He didn't slow down and his movement, for me, adds to the portrait and my memory of him. My one regret is that I never asked his name. 

When we returned to our lodgings the owner knew the workshop. On my return to the UK I had a print made and sent it, via her, to him. Whether he ever received it or liked it I don't know...but if you ever go into a small town in Italy and see this photo on the wall of the local woodcarver you'll know where it came from :-)